Black No More aligns with Schuyler's long held sentiments towards race in America, which argue against the concepts of a color line rooted in exaggerating and demeaning African American Culture.[8] Black No More satirizes such a concept by presenting the discourse of the color line in a way which showcases bigotry regardless of the presence of race in society. Schuyler satirizes the contemporary eugenics practices of the 1920s and 1930s through things such as a dedication to a whitewashing procedure as a preface, with the satire condemning such concepts.[9] Schuyler's legacy as one with a strict condemnation of the color line is shown through a work that is intent on satirizing the societal gap of race itself, one which contemporaries such as W.E.B. DuBois embrace, with DuBois begrudgingly endorsing the work, as it addresses the concept of race and its impact on economic stature as he had written.[10] Black No More is the centerpiece of Schuyler's legacy, with its satire reflecting his attitude against the color line and its usage in art as a form of segregating the difference between Black and white Americans. Black No More and Schuyler remain controversial for their criticism of Black leaders, with their satiric bite being viewed as offensive or overlooked in regards to contributions to art during the Harlem Renaissance.[11]
This content is from Wikipedia. GradeSaver is providing this content as a courtesy until we can offer a professionally written study guide by one of our staff editors. We do not consider this content professional or citable. Please use your discretion when relying on it.
